User Manual • v3.5

Table of ContentsUser License Agreement ...................................................................................................................................... 3Welcome ............................................................................................................................................................... 4

Highlights .................................................................................................................................................. 4System Requirements .......................................................................................................................................... 4Demo Version Restrictions ................................................................................................................................... 5Why buy? ............................................................................................................................................................. 5Installation ............................................................................................................................................................ 5

Notes: Windows ........................................................................................................................................ 5Notes: Mac OS X ..................................................................................................................................... 5

Start Here! ............................................................................................................................................................ 5Try the Presets ......................................................................................................................................... 6Think Modular ........................................................................................................................................... 6Randomize! ............................................................................................................................................... 6Save Presets ............................................................................................................................................ 6Try MIDI Learn .......................................................................................................................................... 6Come Back Soon ...................................................................................................................................... 6

User Interface Features ........................................................................................................................................ 7CamelPhat Logo ....................................................................................................................................... 7Main Dsplay .............................................................................................................................................. 7Knobs ........................................................................................................................................................ 7

Effect Modules ...................................................................................................................................................... 8On/Off Switches ........................................................................................................................................ 8BP Filter .................................................................................................................................................... 8Distortion ................................................................................................................................................... 9MM Filter ................................................................................................................................................... 9Filter Types: Lowpass ............................................................................................................................... 9Filter Types: Bandpass ........................................................................................................................... 10Filter Types: Highpass ............................................................................................................................ 10Filter Types: Formant & Peaking ............................................................................................................ 10Filter Types: Comb Filters ....................................................................................................................... 11Filter Types: Ring Modulation ................................................................................................................. 11Filter Types: Distortion ............................................................................................................................ 11MM Filter - Other Parameter ................................................................................................................... 11Flanger .................................................................................................................................................... 12Magic EQ ................................................................................................................................................ 12Compressor ............................................................................................................................................ 12

Other Modules .................................................................................................................................................... 13Master ..................................................................................................................................................... 13LFO ......................................................................................................................................................... 13

Frequently Asked Questions .............................................................................................................................. 17Release Notes .................................................................................................................................................... 17Credits ................................................................................................................................................................ 18

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User License AgreementThis User License Agreement is a legal agreement between you and Camel Audio for the product accompany-ing this document, which includes software and all associated media (‘SOFTWARE’). By installing, copying or using the SOFTWARE, you agree to be bound by the terms of this license. If you do not agree with the terms of this license, you may not use the SOFTWARE.

The SOFTWARE is protected by copyright laws and international copyright treaties. The SOFTWARE is li-censed, not sold. You may not transfer, modify, rent, lease resell, distribute, network or transmit the SOFT-WARE. You may not reverse engineer, decompile or disassemble the SOFTWARE. You are not permitted to copy the SOFTWARE.

All title and copyrights in and to the SOFTWARE and any copies of the SOFTWARE are owned by Camel Audio. The SOFTWARE is protected by copyright laws and international treaty provisions. Unauthorised repro-duction or distribution of the SOFTWARE or documentation is subject to civil and criminal penalties.

The SOFTWARE is provided ‘as is’ and without warranty of any kind. The entire risk arising out of the use of the SOFTWARE remains with the user. Camel Audio disclaims all warranties, either express or implied, includ-ing, but not limited to, implied warranties of merchantability and fitness for a particular purpose, with regard to the SOFTWARE. In no event shall Camel Audio be liable for any consequential or other damages whatsoeverarising out of the use of or inability to use the SOFTWARE.

‘Camel Audio’ and ‘CamelPhat’ are trademarks of Camel Audio. ‘VST’ is a trademark of Steinberg Soft – und Hardware GmbH. All other trademarks are the property of their respective owners. © 2012 Camel Audio. All rights reserved.

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Welcome to CamelPhat 3.5!CamelPhat is the ultimate phattening processor! A powerful ‘colouring’ multi-effect that’s been specially en-gineered to work wonders on guitar, bass and drums, adding warmth, punch and presence wherever they’re required.

Four characteristically different distortion effects are included, which can be used separately or blended together to create an endless variety of tones.

The unique ‘Magic EQ’ enhances the low end like nothing else – it’s the perfect kick drum sweetener! Add to that an easy-to-use analogue-modelled com-pressor, three resonant filters, two LFOs and an envelope follower, and you’ve got one seriously phat package! A stunning graphical user interface puts all the controls at your fingertips, while the X/Y pad allows easy real-time manipulation of the most impor-tant parameters.

With the intelligent ‘Randomize’ button, new sounds and inspiration are just a click away. 300 attention-grabbing Presets, organised by category, are also included.

Highlights• ‘Phattening’ multi-effect, great for punchy drums, bass and lots more.• Four distortion modules; warm and soft to crunchy and fat.• Magic EQ, compressor, three filters, two LFOs, envelope follower.• Easy-to-use, with X/Y pad and intelligent Randomize.• 300 categorised Presets.

System RequirementsWindows

• XP / Vista / Windows 7• 1GHz CPU• 1GB RAM• 10MB HD Space• VST / RTAS 32-bit or 64-bit host

Mac• OSX 10.5 or later• 1Ghz Intel or G5• 1GB RAM• 10MB HD Space• VST / AU / RTAS 32-bit or 64-bit host

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Demo Version RestrictionsThe following restrictions apply to the demo version of CamelPhat:

• Sound is interrupted by one second of silence every thirty seconds.• Saving and loading of banks is disabled.• Stops outputting sound after fifteen minutes.

Why Buy?When you buy CamelPhat 3, in addition to getting a great plugin, you’ll also get access to the latest updates, technical support, tutorials and extra Presets - as well as discounts on new Camel Audio products!

InstallationInstalling CamelPhat is a quick and easy process. Simply double-click the installer program, and follow the on-screen instructions. CamelPhat uses an embedded keyfile for its copy protection, so no additional files or serial numbers are required. Once installation is complete, CamelPhat will be available from within your hostapplication the same as any other effect plugin.

Notes: WindowsYou will be asked to choose a destination directory. You should choose the VST plugins folder belong-ing to your preferred host application. If you want to install the plugin for more than one host, you can run the installer again.

If you are a Pro Tools user on Windows, please note that the RTAS version of CamelPhat is only included in the 32-bit installer.

Notes: Mac OS XThe installer will automatically put the plugins and support files in their proper places. Both the VST and Audio Units versions of the plugin are contained in the installer. You can choose not to install one or the other by clicking the ‘Customize’ button at the relevant point during installation.

Start here!Software manuals are boring, and nobody likes reading them. We know this. We’ve done our best to make this shorter and less boring than the average software manual... but frankly it’s still pretty boring – and it’s certainly a lot less fun than using CamelPhat.

Even so, please keep reading for at least a couple more pages! We have a few tips that’ll really help you get the most out of CamelPhat.

Try the PresetsCamelPhat comes with a large collection of Presets. These are a great way to find out what it’s capable of. You can work your way through the Presets using your host’s normal selector, or the up/down arrow buttons in the ‘Value Readout’ display, or by clicking the current Preset name and choosing a new Preset from the pop-up menu that appears.

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Think ModularCamelPhat is a multi-effect. That means it’s several different effects processors in one. If you look at the front panel you’ll see that it’s divided into a number of different sections, each with a small blue ‘On’ button in its up-per corner. You can get a wide variety of sounds out of CamelPhat simply by toggling different modules on and off, and trying out different combinations.

Randomize!You see that big button at the top and in the middle? The one marked ‘Randomize’? That’s the Randomize button, and it’s one of CamelPhat’s best features! Clicking Randomize instantly assigns a new value to every parameter in every active module (modules that are switched off aren’t affected). In short, it’s a great way to make interesting things happen quickly! Randomize is actually not completely random; it’s designed to be ‘in-telligent’ so that it won’t produce settings that make no sound, or sounds that aren’t any use.

Save PresetsAfter a few clicks of the Randomize button, you’ll probably have come up with a sound you want to keep and use again. Your host application will save all your plugin settings each time you save a song, but you can also save CamelPhat’s settings in a separate file (e.g. to use in a different song, or host, or to share with other CamelPhat users). CamelPhat allows you to save Presets (.FXP files) and Banks (.FXB files).

A Preset is a record of all the settings required to make up a single sound. A Bank is a record of all the settings that make up a set of 64 different sounds. To save a Preset (or Bank), click on the Preset name in the Value Readout display, choose ‘Save Preset’ (or ‘Save Bank’) from the pop-up menu, then choose a name and loca-tion for the Preset file in the dialog box that appears.

Creating Custom CategoriesThe categories displayed in CamelPhat’s preset browser are, in fact, FXB (bank) files stored in the “Camel-PhatData” folder within your installation directory. To create a category of your own, simply save a bank of your presets to the CamelPhatData folder and name the file whatever you would like to have shown in CamelPhat. For example, if you have a bank of presets you think are particularly good for vocal effects and you’d like to have them available from the preset menu, you could save the bank as Vocal FX.fxb to your CamelPhatData folder. The cat-egory would then become available within CamelPhat.

Try MIDI LearnMost of CamelPhat’s parameters can be controlled via MIDI. To do this, you’ll first need to set up your host application to send MIDI data to the plugin (this varies from host to host). Then simply right-click (Ctrl-click if you’re a Mac user) on any of CamelPhat’s knobs, select ‘MIDI Learn’ from the menu that appears, then send a controller message from your preferred MIDI controller (e.g. move your keyboard’s Mod Wheel). CamelPhatwill recognise the controller and automatically assign it to your chosen parameter!

Come Back SoonThat’s enough to get you started. Once you’ve played around for a while, please comeback and read the rest of this manual. It won’t take long!

Hint: You can change which bank loads at start-up by changing the file name of your bank to -Default.fxb.

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User Interface FeaturesCamelPhat’s user interface is quite straightforward, and to a large extent what you see is what you get. Even so, there are one or two details that perhaps aren’t apparent at first glance, and are worth knowing about.

CamelPhat LogoIn the top left corner of the CamelPhat window is CamelPhat’s logo, along with the current version number (e.g. ‘v3.50’).

Main DisplayCamelPhat’s main display is divided into several sections:

• Value Readout is where the name of the currently-active Preset is displayed. Whenever you adjust a knob, its value (e.g. ‘75 %’ or ‘1.3 Hz’) will appear, replacing the Preset name. After about three seconds the Preset name reappears. Clicking in the Value Readout display opens a pop-up menu, from which you can choose to load or save Banks and Presets. CamelPhat’s banks are conveniently organized by sound type. ‘Clear Preset’ sets all parameters to their default values.

• The X/Y Controller provides an easy way to dynamically control any two of CamelPhat’s parameters simultaneously. Dragging the X/Y Cursor (the small ‘dot’) around in the X/Y Controller square changes the values of the chosen two parameters (you’ll see the relevant knobs turning as you drag). The X and Y parameter fields beneath the X/Y Controller square allow you to choose which parameter is assigned to the X axis (i.e. is affected by horizontal movements) and which to the Y axis (i.e. is affected by vertical movements). Right-clicking on the X/Y Cursor allows you to use CamelPhat’s MIDI Learn function to as-sign MIDI continuous controllers to both the X and Y axis.

• Output Level is a simple ‘VU’ meter which graphically displays CamelPhat’s output level. This is switched on by default; click on it to deactivate the display. If the output clips (i.e. if the topmost ‘LED’ lights up), try reducing CamelPhat’s Master Volume slightly.

KnobsHovering over a knob causes the knob’s current value (e.g. ‘71.7 Hz’ or ‘-40 dB’) to appear in the ‘Value Readout’ section of CamelPhat’s main display. After about three seconds, the current Preset name will reappear in its place.

Right-clicking (Ctrl-clicking on a Mac) any of CamelPhat’s knobs opens a pop-up menu containing the following options:

• MIDI Learn allows a MIDI continuous controller to be assigned to the knob. (Note: your host application must first be set up to send MIDI data to the plugin. Different hosts do this in different ways. Please see your host’s manual for more details!) Simply rightclick (Ctrl-click on a Mac) a knob, choose ‘MIDI Learn’ from the menu, then send a message from your hardware controller (e.g. by moving your keyboard’s Mod wheel, or some other assignable control). CamelPhat will ‘learn’ the controller, and automatically assign it to the relevant parameter.

• Linear and Circular tell CamelPhat’s knobs how to respond to mouse movements. Linear mode is the default. In Linear mode, you can adjust a knob’s value by clicking it and dragging vertically upwards (to increase the value) or downwards (to decrease it). In Circular mode, you instead use the mouse pointer as if you were turning a real knob on a hardware device. A clockwise turn increases the parameter value, while an anticlockwise turn decreases it. Changing from Linear to Circular mode affects all of Camel-Phat’s knobs.

Hint: Holding down the Shift key while dragging will result in a slower, more precise knob movement.

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Effect ModulesCamelPhat features 6 different effect modules. The incoming signal flows through them as shown below:

► BP Filter ► Distortion ► MM Filter ► Flanger ► Magic EQ ► Compressor ──────►

On/Off SwitchesOne feature that all the effect modules have in common is a small, blue ‘On’ switch, which can be used to toggle the module on or off. When the ‘On’ button is illuminated, the module is active. When the ‘On’ button is dimmed, the module is switched off, and has no effect on the sound.

BP FilterFirst in the chain is a flexible ‘band-pass’ filter module, with several parameters. A band-pass filter is a filter that allows sound within a certain frequency band to pass through it, while other frequencies are ‘rejected’.

The Low and High sliders are used to set the low and high filter cut-off points, i.e. the lower and upper limits of the desired frequency band. Frequencies above or below these limits will be rejected. Both sliders have an effective range of from 20 Hz at the low end up to 20000 Hz at the high end.

With the Low and High sliders set to their opposite extremes, all audible frequen-cies pass through the filter (none are rejected).

The Low and High sliders each have a Resonance control, which can be used to boost or accentuate frequencies around the cut-off points. Activating the Link ‘On’ button links the sliders together so that they can be adjusted as a pair, with their positions fixed relative to one another – ideal for filter sweeps!

The BR Mix knob is used to adjust the level of the ‘Band Reject’ signal. With BR Mix turned all the way to the left, you’ll only hear the sound passing through the filter (i.e. only the frequencies between the Low and High slider cut-off points will be heard).

As BR Mix is turned to the right, the Band Reject signal is progressively mixed back in with the sound at CamelPhat’s output. Note that the Band Reject signal is not processed by Camel Phat 3’s other effect modules; it’s simply passed straight to the output (see diagram above).

Turn BR Mix all the way down when you want to filter out and completely remove some frequencies from the incoming sound. Turn BR Mix up when you want to use CamelPhat’s filters and other modules to emphasise or process some frequencies within the sound, while leaving the other frequencies unaffected.

▲

Band Reject Signal

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DistortionThere are four different distortion types, and each has its own ‘amount’ knob. The different types are not exclusive, so you can use varying amounts of all four at once.

The Mech and Tube distortion types use the well-known and well-loved algo-rithms from CamelPhat 2. Tube provides a warm and musical, analogue-style overdrive, while Mech is a bit nastier (hint: it’s great for booming kick drums).

Bit Crusher produces an extremely gritty, degraded ‘digital’ sound. Xcita is a lot less destructive, and introduces a bright, harmonic distortion in the higher frequencies, enhancing the ‘presence’ of the sound.

MM FilterThe MM Filter module provides a powerful multi-mode filter capable of trans-forming the sound in a number of different ways. You can choose from many different filter types, either by clicking on the left and right arrow buttons be-side the ‘Type’ field, or by clicking the name of the currently-selected type and choosing from the pop-up menu that appears.

The MM Filter includes the following controls:

• Attack, Release and Envelope amount. These all relate to CamelPhat’s ‘envelope follower’. An envelope follower responds to the changing amplitude of an incoming audio signal and creates a dynamic control signal that loosely mimics it. The ‘Attack’ and ‘Release’ controls allow you to fine-tune the responsiveness of the envelope follower. The ‘Envelope Amount’ control determines the intensity of the effect, i.e. the extent to which the control signal modulates (i.e. alters) the filter’s Cutoff point.

• Cutoff sets the filter Cutoff point (in Hz). Exactly what effect this has varies depending on the selected filter type (see below).

• In most cases, the Resonance knob controls the degree to which the frequencies immediately surrounding the filter Cutoff point (see above) are emphasised or boosted. This is particularly effective when the Cutoff point is modulated or ‘swept’ (e.g. by the envelope follower, an LFO or a MIDI continuous controller), as it emphasises the ‘movement’ in the sound. However, as noted below this control can change function depending on the selected filter type.

• Mix controls the wet/dry balance of the filter effect. With the knob turned all the way to the right, you’ll hear only the filtered sound. Turned the other way, you’ll hear the ‘dry’ unfiltered sound.

Filter Types: LowpassA lowpass (LP) filter passes the portion of a sound below a specified cutoff frequency and rolls off the portion above that frequency. There are 8 different LP filter designs available in CamelPhat, each with distinctive char-acteristics that you may prefer for a given purpose:

• LP2-BQ - 2-pole, bi-quad filter.

• LP2-Fat - 2-pole filter designed to saturate heavily at higher Resonance settings.

• LP2-SVF - 2-pole state-variable filter.

Hint: Using a lot of distor-tion tends to amplify the signal, so you might need to use the Master Volume knob (see below) to keep your levels under control.

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• LP2 K20 HQ, LP2 XP HQ, LP2 MG HQ - 2-pole filters modelled on the filters in classic analog hardware synths.

• LP4-XP, LP4-MG - The 4-pole filters provide a steeper roll-off of frequen-cies beyond the cutoff.

Filter Types: BandpassA bandpass (BP) filter passes the portion of a sound occupying a band surrounding the cutoff frequency and rolls off the portions above and below that band. There are 8 different BP filter designs available in CamelPhat:

• BP2-BQ - 2-pole, bi-quad filters.

• BP2-Fat - 2-pole filters designed to saturate heavily at higher Resonance settings.

• BP2-SVF HQ - 2-pole state-variable filters.

• BP2 K20 HQ, BP2 XP HQ, BP2 MG HQ - 2-pole filters modelled on the filters in classic analog hardware synths.

• BP4-XP, BP4-MG - The 4-pole filters provide a steeper roll-off of frequencies beyond the cutoff.

Filter Types: HighpassA highpass (HP) filter passes the portion of a sound above a specified cutoff frequency and rolls off the portion below that frequency. There are 8 different HP filter designs available in CamelPhat:

• HP2-BQ - 2-pole, bi-quad filters.

• HP2-Fat - 2-pole filters designed to saturate heavily at higher Resonance settings.

• HP2-SVF HQ - 2-pole state-variable filters.

• HP2 K20 HQ; HP2 XP HQ; HP2 MG HQ - 2-pole filters modelled on the filters in classic analog hardware synths.

• HP4-XP; HP4-MG - The 4-pole filters provide a steeper roll-off of frequencies beyond the cutoff.

Filter Types: Formant & PeakingThe formant filter works like a bandpass filter with a potentially very narrow bandwidth. It is designed to mimic a formant, or fixed resonance, such as those produced by the hollow body of a guitar or by the shape of the vocal cavity (which is adjusted during speech to produce different vowel sounds).

• Cutoff controls the resonant frequency of the formant.

• Resonance controls the width of the band surrounding the resonant frequency. Low values produce a narrow band, high values a wider one. Setting the resonance too low may cause little or no sound to pass through the filter.

The peaking filter boosts a narrow band around some resonant frequency while leaving the rest of the signal more or less unchanged.

• Cutoff controls the resonant frequency of the boosted band.

• Resonance controls the amount of boost. Higher values are generally the most effective.

Hint: HQ filters are 2x-oversampled versions, offering higher quality at the cost of greater CPU usage.

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Filter Types: Comb FiltersA comb filter mixes the original signal with one or more copies delayed by a very short time interval. At some frequencies this mixture causes phase cancellations, while at other frequencies it causes reinforcements; the result is a ‘spiky’ frequency response with multiple resonant peaks. (A graph of these peaks resembles the teeth of a comb, which gives this filter type its name.)CamelPhat offers two comb filter designs. CombP (P is for ‘plus’) uses positive feedback on the delay lines, while CombM (M is for ‘minus’) uses negative feedback to produce less extreme effects, often with a ‘hollow’ quality.

• Cutoff controls the delay time in the comb circuit (lower cutoff = longer delay).

• Resonance controls the amount of feedback in the comb circuit.

Filter types: Ring ModulationRing modulation is a process in which a modulator and a carrier signal are multiplied. Each frequency compo-nent of the modulator interacts with each frequency component of the carrier to produce two sidebands: a sum and a difference (carrier - modulator). When CamelPhat is set to the RingMod type, the signal entering the filter acts as the modulator, while the carrier is supplied internally by the filter.

• Cutoff controls the carrier frequency.

• Resonance applies a constant offset to the carrier. At 0% Resonance, the carrier wave varies between -1 and +1, and the result is classic ring modulation. At 100% Resonance, the carrier wave varies between 0 and 1, and the result is classic amplitude modulation. In this case, the carrier signal itself is present alongside the sum and difference sidebands.

Filter Types: DistortionThe CamelPhat filters offer several distortion effects.

• Tube - A well-known and well-loved ‘Tube’ distortion effect.

• Mech - A more ‘metallic’ sounding distortion.

• BitRed - A harsher sounding ‘bit reduction’ effect (also known as ‘bit crushing’).

The principal filter controls work as follows when the filter type is set to a distortion effect:

• Cutoff controls the intensity of the distortion effect.

• Resonance controls the mix between clean and distorted signals (0% = clean only, 50%

MM Filter - Other Parameters• Attack, Release and Envelope amount. These all relate to CamelPhat’s ‘envelope follower’. An envelope

follower responds to the changing amplitude of an incoming audio signal and creates a dynamic control signal that loosely mimics it. The ‘Attack’ and ‘Release’ controls allow you to fine-tune the responsiveness of the envelope follower. The ‘Envelope Amount’ control determines the intensity of the effect, i.e. the extent to which the control signal modulates (i.e. alters) the filter’s Cutoff point.

• Cutoff sets the filter Cutoff point (in Hz). Exactly what effect this has varies depending on the selected filter type (see above).

• In most cases, the Resonance knob controls the degree to which the frequencies immediately surround-

Hint: Sending a percussive sound into a highly resonant comb filter will cause it to ‘ring’ at a frequency determined by the delay time (hence controlled by the Cutoff knob).

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ing the filter Cutoff point (see above) are emphasised or boosted. This is particularly effective when the Cutoff point is modulated or ‘swept’ (e.g. by the envelope follower, an LFO or a MIDI continuous control-ler), as it emphasises the ‘movement’ in the sound. However, as noted above this control may change function depending on the selected filter type.

• Mix controls the wet/dry balance of the filter effect. With the knob turned all the way to the right, you’ll hear only the filtered sound. Turned the other way, you’ll hear the ‘dry’ unfiltered sound.

FlangerFlanging is an effect produced when a slightly delayed copy of a signal is mixed together with the original. The length of the delay is varied over time, but is usually never longer than a couple of dozen milliseconds. Flanging creates a characteris-tic ‘sweeping’ or ‘whooshing’ effect.

CamelPhat’s Flanger is very easy to use, and has just two parameters:

• Amount controls the wet/dry mix of the effect. Turn the knob to the right to increase the level of the pro-cessed sound.

• Rate controls the rate at which the length of the Flanger’s delay changes. In other words, it changes the speed of the ‘sweeping’ effect.

Magic EQThe Magic EQ is a specially-designed equalizer, with analogue-modelled ‘soft saturation’ and a custom high-end ‘shelf’. It gives extra ‘weight’ and ‘punch’ to the low end in the processed sound. Used in moderation, the effect is quite subtle. Used to the extreme, it could cause friction with your neighbours! It’s at its best when used on individual elements in a mix, especially sounds like kick drums, toms, or bass lines.

Magic EQ has three parameters:

• Amount controls the intensity of the effect.

• Tune allows you to ‘tune’ the effect to emphasise or enhance particular frequencies.

• The P (for ‘Phat’) button activates a special ‘Phat’ mode, which is great for drums but can occasionally cause unwanted distortion on other sounds. When Phat mode is off, Magic EQ operates in a ‘smoother’ mode, with a slightly ‘calmer’ sound better suited to ‘clean’ signals (e.g. clean guitar sounds) that might otherwise suffer unwanted distortion (especially at higher levels).

CompressorCompression works by decreasing a signal’s dynamic range (the difference between the highest-volume and lowest-volume parts of the sound), thereby delivering more perceived ‘loudness’ at the same relative volume. CamelPhat’s compressor is deceptively simple; behind the scenes lies a sophisticated and responsive ‘soft-limiting’ compressor algorithm, modelled after the classic ana-logue compressor designs renowned in studio folklore.

There are three parameters:

• Amount controls the amount of compression applied to the sound, and thus the apparent ‘loudness’.

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• Release affects how quickly the compression effect subsides, and the dynamics of the incoming signal return to their normal ‘uncompressed’ levels.

• The P (for ‘Phat’) button is similar to that found in the Magic EQ module (see above). Turn it off for ‘smoother’ results when working with ‘clean’ signals (e.g. clean guitar sounds) which might otherwise suffer occasion-al ‘crackles’ at high levels.

Other ModulesIn addition to the six effect modules described above, CamelPhat features two other modules.

MasterThe Master module has three parameters:

• On is a toggle switch much like the on/off switches in the effects modules. However, switching the Master module off has the effect of completely bypassing CamelPhat, so that only the ‘dry’, unprocessed signal is heard.

• Volume allows you to adjust the overall level of CamelPhat’s output. If the Output Level meter in the main display shows the signal ‘clipping’, you can reduce the Volume slightly until it stops.

• Mix allows you to adjust the wet/dry balance of CamelPhat’s output. You’ll probably most often want to hear just the ‘wet’, processed output, and so should set the Mix knob all the way to the right. Sometimes, however, it can useful to mix in a little of the dry, untreated signal. Turn the Mix knob to the left to adjust the balance in favour of the dry signal.

LFOThe LFO (‘Low Frequency Oscillator’) module is not strictly speak-ing an effect module. It doesn’t directly alter the sound itself. In-stead, it produces a constantly-changing control signal which can be used to modulate (i.e. alter) many of CamelPhat’s other parameters.

The LFO module actually provides not one, but two independent LFOs, allowing two different parameters to be modulated simultane-ously.

The buttons marked 1 and 2 are used to switch between the two LFOs. When button 1 is illuminated, the LFO module shows the parameter settings for the first of the two LFOs. When button 2 is il-luminated, it changes to display the parameter settings for the other LFO.

Both LFOs have the same basic parameters:

• On simply toggles the LFO on or off. When it’s off, it has no effect (obviously).

• The Target field is where you can choose the (slightly abbreviated) name of the parameter you want the LFO to affect. ‘MagicEQAmnt’, for example, refers to the ‘Amount’ parameter for the Magic EQ effect. The left and right arrow buttons allow you to browse through the available Target names one at a time.

Hint: Think of an LFO as a kind of in-visible robot hand which can smoothly and constantly turn knobs for you, in real time. (You won’t actually see the knobs move, but you’ll hear the effect.)

Hint: Longer release times can be useful for emphasis-ing sustain, e.g. on guitar sounds. Shorter release times can produce dynamic ‘pumping’ effects that work well with drum loops. There are no hard and fast rules though. Always trust your ears!

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Clicking in the Target field opens a pop-up menu where you can choose from a complete list of available Targets.

• The Shape field allows you to choose the waveform shape used by the LFO. Different waveform shapes produce char-acteristically different kinds of modulation. ‘Sine’, for example, produces a smooth and even sweep from one extreme of the parameter range to the other, then back. ‘Random Square’, on the other hand, produces a series of unpredictable jumps from one value to another. There are seven different wave-forms in total to choose from. As with the Target field (above), you can either use the left and right arrow buttons to switch waveforms, or you can click the field for a pop-up menu.

• Depth controls the extent or amount of LFO modulation. With Depth turned all the way up (to ‘100 %’), the LFO will sweep (or otherwise modulate) an effect parameter throughout its entire range. Lower set-tings result in less drastic modulation.

• Rate controls the rate at which the LFO runs. Turn it up for faster, ‘nervier’ effects. Turn it down for slower, smoother mod-ulation. The Rate control is calibrated in Hz (cycles per sec-ond) – unless the Rate Sync button is activated (see below).

• When the Rate Sync (On) button is activated, the Rate knob is recalibrated in more musically-meaningful units of time, e.g. ‘1/4 bars’ (meaning that the LFO will complete one full cycle per quarter note, or four per bar).

Hint: Rate Sync also allows ‘triplet’ (e.g. ‘2/1T’) and ‘dotted’ (e.g. ‘1/4*’) rhythmic values to be set, to create more complicated and interesting ef-fects. A triplet is where three notes are played in the same amount of time as two ordinary notes. A dotted note is a note that lasts one-and-a-half times as long as an ordinary note.

Hint: Rate Sync relies upon your host application to provide tempo informa-tion to the plugin. Most hosts will do this automatically, but a few may need to be told explicitly to configure CamelPhat as a ‘tempo-based effect’ (or something similar). If in doubt, consult your host application’s manual for more details!

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Frequently Asked QuestionsCamelPhat is still running in demo mode - how do I install the full version?Occasionally the CamelPhat files will fail to update after installing the full version of CamelPhat over the demo version. The problem is easily solved by deleting the CamelPhat component files or DLL and running the in-staller again.

Please ensure you have downloaded the most recent version of CamelPhat from your support account before following these instructions, so that you can be certain the full version will be installed.

Mac1. Delete the following files from your system: • /Library/Audio/Plug-ins/Components/CamelPhat.component • /Library/Audio/Plug-ins/VST/CamelPhat.vst • /Library/Application Support/Digidesign/Plug-Ins/CamelPhat.dpm2. Run the CamelPhat installer again3. Open your host and create an instance of CamelPhat

Windows1. Delete the following files from your system: • C:\Program Files\VSTPlugins\CamelPhat.dll - Note: this location assumes the default installation

folder for CamelPhat. If you installed the plug-in to a different location, delete the DLL from the appro-priate folder.

• C:\Program Files\Common Files\Digidesign\DAE\Plug-Ins\CamelPhat.dpm2. Run the CamelPhat installer again3. Open your host and create an instance of CamelPhat

CamelPhat is now installed on my system, but I cannot find the icon.CamelPhat is not a standalone application like Office or Photoshop, so there is no icon or program to run. To use CamelPhat a host application capable of loading VST or Audio Unit (Mac) effects is required. Click here for more information about the software that is required to use Camel Audio plug-ins.

Where do I install the 32-bit and 64-bit versions of CamelPhat? (Win)The 32-bit and 64-bit plugin DLL files must be installed to separate folders. During the setup of CamelPhat you will be prompted for for the location of the plugin DLL file. Choose an appropriate folder for the 32-bit or 64-bit version. The typical folders used for the plugin DLL installation are:

• 32-bit: C:\Program Files (x86)\VSTPlugins\• 64-bit: C:\Program Files\VSTPlugins\

After the path for the plugin DLL folder has been entered click Next and set the remaining options, and let setup finish.

Why doesn’t MIDI learn work?MIDI learn relies on you setting up your host to transmit MIDI to the plugin. How exactly this is achieved varies from host to host – please read your host’s manual for details.

Why doesn’t the X/Y controller dot move when I play back automation?When you record automation while moving the dot in the X/Y controller, the values of the underlying param-eters are recorded, but the position of the dot is not. This is by design, rather than a bug.

Hint: Mac users may be asked to supply your system password when deleting these files.

Hint: It is not possible to register the demo version of CamelPhat as the full version. You must log in to your support account to download the full version of CamelPhat.

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Why doesn’t modifying ‘MorphXParam’ and ‘MorphYParam’ from outside the plugin result in the expected behaviour?These two parameters control the selected modulation destinations for the X/Y controller. If you want to auto-mate particular parameters, select them directly, rather than via the X/Y controller.

How can I get rid of this unpleasant distortion?CamelPhat allows you plenty of options, and it’s sometimes possible to arrive at a combination of settings that will produce some unwanted distortion. To get rid of this, there are a number of things you can do.

• CamelPhat applies a hard-limiting action on the output, which can result in unwanted distortion. Simply turn down the master volume to make this go away.

• If that doesn’t solve the problem, try turning off the ‘Phat’ mode for the Compressor and Magic EQ mod-ules.

• Similarly, if you’ve selected one of the ‘Fat’ filter types in the MM Filter module, try selecting a non-Fat variation instead. (These modes are great for some sounds, but can sometimes produce undesirable distortion on others.)

How do I make CamelPhat 3 sound like CamelPhat 2?To make CamelPhat 3 sound like its younger brother, there are several things you can do. First, engage the ‘Phat’ modes in the Compressor and magic EQ modules. Set the release time of the Compressor to 250ms and set the ‘tune’ parameter for the Magic EQ to 90Hz. Set the frequency of the Flanger to 0.16Hz. Set the ‘Res’ controls for the BP Filter to their mid-points. Use only the ‘LowPass Fat’ filter mode and turn off all newfeatures (‘Bit Crusher’, ‘Xcita’ and so on).

There’s a problem I have which isn’t covered here – what should I do?Please visit the support page on our website at www.camelaudio.com. Refer to the relevant FAQs for the latest information.

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Release NotesCamelPhat 3.50.0New Features:

• 64-bit support for VST and AU on Mac and Windows • RTAS support for Mac and Windows • New filter modes from Alchemy • Better preset organisation by category with new presets • MIDI program change • Inverse LFO shapes for Sine, Square, Triangle • Keyfile copy protection built in to download • LFO depth and speed targets for XY pad

Bug Fixes:

• Cubase preset select via plugin GUI causes crash • Automation values from XY pad fail to record • GUI absorbs key commands in Cubase • XY pad MIDI learn indexing problem • LFOs inactive while transport is idle • Bit-crusher filter type values displayed as bit-depth • Uninstall Control Panel applet • Data files installed to common user folder • Some system languages cause a crash • Permissions set correctly after installation

CreditsConcept, design and programming: Ben Gillett

Additional programming: Rob Martino

Graphic design: Bitplant

Additional design input: Cris Hawkins Jim Hunter

Sound Design: Manuel Schleis (Vengeance Sound), Tim Conrardy, Rory Dow, Biomechanoid, Stephan Muesch, Jim Hunter, David DeBaecke, David Goodwin, Glen Berry, Meffy Ellis, Christian-W. Budde, Chris Sciurba

User manual: Written by Paul Sellars. Filter type documentation adapted from the Alchemy manual by Paul Nauert and Paul Sellars. Manual design by Chris Sciurba.